This year’s honorees: John Roskelley is receiving an Honorary Membership, which is one of the highest awards the AAC offers; Alex Honnold is awarded The Robert and Miriam Underhill Award; Ellen Lapham is honored with the Heilprin Citation; Margo Hayes wins The Robert Hicks Bates Award; And former U.S. Secretary of the Interior and accomplished climber Sally Jewell is the recipient of the David R. Brower Conservation Award. Learn more about the awardees.
The Telluride AIDS Benefit continues to wave its “Fight.Fund.Educate” banner on high – and with good reason. With regard to HIV/AIDS prevention and treatment, today’s political environment is, at best, a giant question mark; at worst, toxic. On the scientific front there may be cause for optimism, but to date there is still no definitive cure for the virus. The Telluride AIDS Benefit is celebrating 25 years of community involvement and dedication to the cause: raising money to help HIV and AIDS clients of its beneficiaries, literally hundreds of individuals and families of all demographics living with HIV/AIDS from the Front Range of Colorado to Africa. TAB also remains laser-focussed on prevention through education.
Join in TAB’s week of events, beginning Friday, February 23, 6 p.m., with the Student Fashion Show at Telluride’s Michael D. Palm Theatre and culminating with the Gala Fashion Show at the Telluride Conference Center in Mountain Village. All happening between March 1 – March 6.
To honor TAB’s silver anniversary, artist Lisa Issenberg’s uber cool cuff is now on sale for $75 at the Telluride Gallery of Fine Art. The Gallery has represented Lisa’s work, primarily her jewelry, since 1992.
WASHINGTON (The Borowitz Report)—The Pentagon has turned down Donald J. Trump’s request for a grand military parade in Washington, D.C., citing a sudden outbreak of bone spurs that would prevent men and women in uniform from participating.
Harland Dorrinson, a Pentagon spokesman, said that, within an hour of Trump’s request, more than a hundred thousand military personnel complained that they were suffering from acute cases of bone spurs that would make marching in such a parade a painful ordeal.
“In the history of the U.S. military, we have never experienced a bone-spur epidemic of this magnitude,” the spokesman said. “Regrettably, however, we have no choice but to issue thousands of deferments.”
A statement from the bone-spur sufferers said that they would continue to valiantly serve their country around the world in a non-marching capacity, and offered an alternative to their participation in Trump’s proposed pageant.
“President Trump is welcome to march in the parade all by himself if he would finally like to enlist,” the statement read.
King, flanked by some of his principal lieutenants: from left to right, Andrew Young, who later became a congressman, ambassador to the United Nations, and mayor of Atlanta; Ralph Abernathy, King’s closest adviser; and John Lewis, who is now a congressman.
A half century ago, Martin Luther King, Jr., receiving the Nobel Peace Prize, in Oslo, spoke of the “creative battle” that twenty-two million black men and women in the United States were waging against “the starless midnight of racism.” A few months later, in March, 1965, that battle came to Selma, Alabama, the birthplace of the White Citizens’ Council. The issue was voting rights. As King pointed out, there were more blacks in jail in the city than there were on the voting rolls. James Baldwin, who was among the marchers, had written, “I could not suppress the thought that this earth had acquired its color from the blood that had dripped down from these trees.” The series of marches there––the first was Bloody Sunday, a bloody encounter with a racist police force armed with bullwhips and cattle prods; the last, the fifty-four-mile procession from Selma to the State House, in Montgomery––pushed Lyndon Johnson to send voting-rights legislation to Congress. The nonviolent discipline of the marchers, the subject of a new film by Ava DuVernay, and portrayed here in Steve Schapiro’s photographs of the Selma-to-Montgomery march, became such a resonant chapter in the black freedom struggle that Barack Obama, in 2007, went to Selma to speak, at Brown Chapel, just weeks after declaring for the Presidency. Almost eight years later, as Selma is being commemorated, demonstrators against racial injustice are employing as a despairing slogan the last words of Eric Garner, an African-American man on Staten Island in the grip of a police choke hold: “I can’t breathe.”
In 1968, as his celebrity was cresting, Steve McQueen produced and starred in Bullitt. He had been nominated for an Academy Award for Best Actor the year before for his dramatic role in The Sand Pebbles. But in the crime thriller, he played a tough San Francisco police detective, Frank Bullitt, who was battling a mob boss. The movie was moody and noir-ish, and a well-reviewed box-office hit.
But despite all of this—and co-stars Robert Vaughn, Robert Duvall, and Jacqueline Bisset—Bullitt is recalled today mainly for its car chase, a 10-minute masterpiece shot in and around San Francisco, and completed in a souped-up, Highland Green, 1968 Ford Mustang fastback (and a 1968 Dodge Charger). The scene helped the movie win the Oscar that year for film editing. Full-size replicas and best-selling toys were made of the car, and are still made today. So long is its shadow that Ford has even produced limited-edition versions of the Mustang as recently as 2009.
“I feel like with Bullitt, the car chase is synonymous with the movie,” said Molly McQueen, Steve McQueen’s 30-year-old granddaughter. “So, while there is a story that holds up, it kind of falls by the wayside because the movie is all about the car chase.”
Two different, specially prepared Mustangs were used in filming. One was the “hero car” driven by McQueen throughout the film. The other was used mainly for the hardcore sections of the chase and jump scenes. Both were thought to be lost to the crusher, but the jump car was discovered in the spring of 2017 in a junkyard in Mexico. Now, the car driven by McQueen has also been found, and it was just unveiled Sunday in Detroit, along with a new 2018 Bullitt-edition Mustang, to celebrate the 50th anniversary of the movie.
After Bullitt wrapped, the hero car was sold to a studio executive in Los Angeles, who kept it briefly before selling it, coincidentally, to a police detective. The officer shipped the car to New York and kept it for about three and a half years before placing a for-sale ad in the back of Road & Track magazine in 1974. His $6,000 asking price was somewhat steep, but Robert Kiernan, a New Jersey insurance executive and Mustang fan, went out to look at it. He bought it for his wife to use as a daily driver.